Martin Bradley (British, 1931-) 'Flag'mixed mediainitialled and dated '58, with Waddington Galleries label verso41 x 91cm, unframed***CONDITION REPORT***Mixed media on hardboard which is slightly curved out of shape, looks rather dirty and will certainly benefit from a clean, some light scratching and scuffs marks to the surface, and some wear at the corners, undated Waddington Galleries label verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
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§ § Hilary Dymond (British, b.1953) Open landscapeoil on canvassigned verso and dated 1996152 x 152cm***CONDITION REPORT***Oil on canvas in good untouched condition, possibly in need of a light clean but no real faults noted, signed and inscribed verso, not framed.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
§ § Kenneth Webb, RWA, FRSA, RUA, (b. 1927) Spanish street sceneoil on boardsigned and dated '5949 x 39cm***CONDITION REPORT***Oil on board in honest untouched condition, might need a light clean but no real faults noted, housed in a plain white frame with some denting, no labels verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
§ § Fred Yates (British, 1922-2008) Figures on a woodland pathoil on canvassigned89 x 69cm***CONDITION REPORT***Oil on original canvas in honest untouched condition, possibly in need of a light clean but no real faults noted, signed lower left, housed in a green stained frame, no labels or inscriptions verso.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
§ § Adam Birtwistle (British,1959-) Portrait of David Hockneypencil and watercolourmonogrammed and dated '0167 x 50.5cm***CONDITION REPORT***Good untouched condition, some light undulation of the paper at 4 o'clock, dirt specks are on the glass rather than the work itself, plain card mount and plain wood frame.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A lady's 18ct gold Rolex Oyster Perpetual wrist watch, on associated leather strap, with baton numerals and engraved bezel and lugs, model number 6620, no serial number??, no box or papers.***CONDITION REPORT***Watch ticks when wound and the hands adjust. Light surface scratches to the case back and sides commensurate with age and some use.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
§ § David Goode (British, b.1966). A very large bronze of Sneakweed, signed and dated 1998, 26/50, on black marble base, width 109cm height 103cm***CONDITION REPORT***Overall of a light to metallic brown patination, A little dusty with some dirt spots to the exposed upper areas but essentially good conditionPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Fredda Brilliant (Polish, 1903-1999). A cast bronze figure of Anton Chekhov (Russian, 1860-1904), playwright and short story writer), signed in the bronze, with a copy of the 1976 retrospective exhibition catalogue, depth 13cm height 22cm***CONDITION REPORT***Essentially good condition, a blackish brown patination with some light rubbing at the extremities, one back leg of the stool is bent slightly out of shapePLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Tiffany Studios, a counter-balance patinated bronze desk lamp with ‘favrile’ glass shade, c.1905, with adjustable angle and tilt of shade, the shade engraved ‘L.C.T’, the bronze base stamped ‘TIFFANY STUDIOS NEW YORK 417’, maximum height 41cm, shade 17.3cm diameter***CONDITION REPORT***Good untouched condition, the bronze has a greenish tint to the patination, switch looks to be the original Bryant example, shade looks original with some very light rubbing to the pinkish inner edges, original bulb holder fitted but later electric cable.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
E.E. Strickland for Carter & Co, Poole pottery, six sets of four tile panels of animals and farm scenes, the designs comprise rabbits, pigs, a turkey, sheep, haystacks and a windmill. Provenance: removed form Dewhurst Butchers, Dover, each tile 15.2cm (6in.) square and each set of four tiles 61cm square, minor faults***CONDITION REPORT***Turkey group of tiles top-left tile chipped at lower-right corner. Rabbit group (FY10) top-left tile with shallow chip lower-right corner. Windmill group (FY2) not chipped. Path with fence group (FY5) not chipped. Pig group (FY6) shallow chip top right edge, not easily seen; bottom-left and bottom-right tiles with small edge chips. Sheep group top-right tile shallow chips to top-right corner and to centre lower edge; top left tile shallow chip to right edge. All with light surface scratches; a few with moulded marks verso, Carter Tiles.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Two Derby dessert plates, late 18th century, attributed to Zachariah Boreman and ‘Jockey’ Hill, the Boreman plate painted to a rectangular reserve with a titled view ‘Dunstaffnage Castle on Loch Etive Scotland’ within apple green and gilded borders, blue Derby mark and pattern number 254, 22.8cm diameter and the ‘Jockey’ Hill plate painted to a circular reserve with the titled view ‘south front of Kedleston Hall Derbyshire’, blue and gilt wreath border, blue Derby mark, pattern number 50 and decorator’s mark ‘2’ inside foot, 21.8cm diameter***CONDITION REPORT***Light surface scratching and wear to gilding throughout, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A rare Derby plate from the Pares service, c.1810, decorated in imitation of oriental lacquer with a black border richly gilt, with a landscape and a bird in flight, further gilt floral sprays around the rim, crown, crossed batons and D mark, pattern no 397, all in red, 21.5cm diameter***CONDITION REPORT***One hairline crack from rim, approx. 25mm, some light surface scratches and typical flaws in the manufacture throughout.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Twelve bottles of Clos Fourtet Saint Emillion Grand Cru 1989***CONDITION REPORT***Some light scuffing and further dirt marking to the labels with one or two tiny edge tears. Levels are good, high shoulder to low neck. Come from a wine cellar in BelgraviaPLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
A Chinese blue and white ‘alms’ bowl or censer, cyclical date for the 56th year of the reign of Kangxi corresponding to 1717 and of the period, the exterior painted with a band of lotus flowers, scrolling tendrils and leaves, unglazed interior and base, the underside inscribed in black ink ‘wushi liu nian hao sheng tang zhi guangji’ ‘made in the 56th year of the reign of Kangxi for the Hall of Light’,Provenance - Frederick Anthony White (1842-1933), thence by family descent. Frederick Anthony White was a great collector of European old master drawings and Chinese porcelain. Some of his collection was sold at auction by Christies in two sales in 19 December 1925 and April 19, 1934. This bowl was kept by the family. 21cm diameter 9cm high, two hairline cracks***CONDITION REPORT***There are two hairline cracks to the rim the first measuring approximately 5 cm downward and the second approximately 3 cm. Typical minor glaze imperfections and some unglazed burnt orange areas around the edge of the foot, the inscription in black ink underneath is a little worn in places but is legible, otherwise in good condition.PLEASE NOTE:- Prospective buyers are strongly advised to examine personally any goods in which they are interested BEFORE the auction takes place. Whilst every care is taken in the accuracy of condition reports, Gorringes provide no other guarantee to the buyer other than in relation to forgeries. Many items are of an age or nature which precludes their being in perfect condition and some descriptions in the catalogue or given by way of condition report make reference to damage and/or restoration. We provide this information for guidance only and will not be held responsible for oversights concerning defects or restoration, nor does a reference to a particular defect imply the absence of any others. Prospective purchasers must accept these reports as genuine efforts by Gorringes or must take other steps to verify condition of lots. If you are unable to open the image file attached to this report, please let us know as soon as possible and we will re-send your images on a separate e-mail.
Engravings - NEWCASTLE, William Cavendish, 1st Duke of.- four engravings from the work “Methode et invention nouvelle de dresser les chevaux”.- A Londres: Chez Jean Brindley, 1737. Set of four prints (etchings and engravings) corresponding to numbers 14, 15, 20 and 32. Proofs with central crease, slight acidity and occasional marginal restorations, light handling, framed. Dim. - (gravura) 42,8 x 52,5 cm; (moldura) 51 x 60,5 cm
MENESES, D. Luís de (3º Conde da Ericeira).- HISTORIA | DE | PORTUGAL | RESTAURADO. | OFFERECIDA | AO SERENISSIMO PRINCIPE | DOM PEDRO | NOSSO SENHOR. | ESCRITTA | POR | DOM LUIS DE MENEZES | CONDE DA ERICEYRA...- Lisboa: Na Officina de Antonio Pedrozo Galraõ; Na Officina de Miguel Deslandes, 1710-1698.- 2 vols.: frontispício grav., 1 retrato; 33 cm.- E., D. Luís de Meneses (1632-1690), 3rd Count of Ericeira, military and political, born in Lisbon, was one of the most notable historians of the Restoration of Independence; he would commit suicide on May 26, 1690. First edition, the most appreciated and with the largest format, of this important title in Portuguese historiography, which reports the political-military events that took place in Portugal between 1640 and 1668. The collation of the two volumes is as follows: volume I - [12], 908, [31, 1 br.] p.: 1 engraved frontispiece, 1 portrait; volume II - [20], 975, [1 br.] p. The first volume is from the second edition, dated 1710 (the first is from 1679) and retains not only the engraved frontispiece, but also the beautiful portrait of the author (signed Fred. Bouttats) that is missing from most copies. The second volume dates from 1698 and was printed by Miguel Deslandes and does not include any engravings. Copy slightly cropped, with signs of handling and occasional light browning; engraved frontispiece slightly wrinkled. Ex-libris by João José d’Abreu M. M. de Lemos, in both volumes (on the front cover of volume II). Contemporary bindings, worn. Inocêncio, V, p. 307. Samodães, 2085. Arouca, M 302.
PRINTS- NEWCASTLE, William Cavendish, 1st Duke of.- four engravings from the work “Methode et invention nouvelle de dresser les chevaux”.- A Londres: Chez Jean Brindley, 1737.- 4 gravuras a talhe-doce; dim. aprox.: 428x525 mm (folha aparente)., Set of four engravings corresponding to numbers 6, 8, 28 and 29. Proofs with central crease, slight acidity and occasional marginal restorations, light handling. Dim. - (gravura) 43 x 53 cm; (moldura) 51 x 60,5 cm
Engravings - NEWCASTLE, William Cavendish, 1st Duke of.- four engravings from the work “Methode et invention nouvelle de dresser les chevaux”.- A Londres: Chez Jean Brindley, 1737. Set of four prints (etchings and engravings) corresponding to numbers 7, 18, 23 and s/n.evidence with central crease, slight acidity and occasional marginal restorations, light handling, framed. Dim. - (gravura) 42 x 52,5 cm; (moldura) 50 x 60,5 cm
Madrid School of the second half of the 17th century."Virgen de la Fuencisla".Oil on original canvas.It presents restorations.Measurements: 128,5 x 96 cm; 133 x 100 cm (frame).The work shows the image of the Virgin Mary with the Child in her arms. Due to the clothing and the large crown on her head, the image is reminiscent of the invocation of the Virgin Fuencisla, similar to the sculpture of the image of Our Lady of Fuencisla located in the Sanctuary of the said Virgin in Segovia. This is the place where she is venerated.The Madrid school emerged around the court of first Philip IV and then Charles II, and developed throughout the 17th century. Analysts of this school have insisted on considering its development as a result of the binding power of the court; what is truly decisive is not the place of birth of the different artists, but the fact that they were educated and worked around and for a nobiliary and religious clientele based next to the royals. This allowed and favoured a stylistic unity, even though there were the logical divergences due to the personalities of the artists involved. The origins of the Madrid school are linked to the accession to the throne of Philip IV, a monarch who made Madrid an artistic centre for the first time. This was an awakening of the nationalist conscience as it allowed a liberation from the previous Italianate moulds and a leap from the last echoes of Mannerism to Tenebrism. This was the first step taken by the school, which gradually progressed towards a more autochthonous Baroque language linked to the political, religious and cultural conceptions of the Habsburg monarchy, before dying out with the first outbreaks of Rococo in the work of the last of its representatives, A. Palomino. The techniques most commonly used by these painters were oil and fresco. Stylistically, the starting point was naturalism with a notable capacity for synthesis, leading in due course to the allegorical and formal complexity characteristic of the decorative Baroque. These artists showed a great concern for the study of light and colour, as we can see here, initially emphasising the interplay between extreme tones characteristic of tenebrism, which were later replaced by a more exalted and luminous colouring. They received and assimilated Italian, Flemish and Velázquez influences. The clientele determined the fact that the subject matter was reduced almost exclusively to portraits and religious paintings.
Russian icon from the 18th century."Life of Jesus".Egg tempera on panel.Provenance: Russian Monastery of Saint Alexander - Nevsky. Jerusalem. Acquired in 1976.Restored by Josep Gudiol.Measurements: 53,5 x 44 x 2 cm.This icon presents the life of Jesus in twelve vignettes placed around a central cartouche with an allegorical scene and, around it, the representation of various characters related to the figure of Christ. In the outer vignettes we see, beginning in the upper left-hand corner and clockwise, the birth of the Virgin, her presentation in the Temple, the Annunciation, the Birth of Jesus, his Baptism, the episode on the Mount of Olives, a group of three saints accompanied by a large cross, the death of the Virgin, the three angels seated at Abraham's table, the appearance of the risen Christ, his entry into Jerusalem and his presentation in the Temple. The reading order would therefore be from top to bottom and from left to right, horizontally.It comes from a monastery of White Russian nuns (independent of the Kremlin) in Jerusalem, which was maintained by donations from exiled Russians. These White Russian nuns were mostly descendants of exiled noble families.Icons cannot be compared to other works of art in the usual sense of the word. Icons are not paintings, but are considered to be the real presence of the person depicted. Paintings, with their features and colouring, speak of people and events in concrete reality. Icons, on the other hand, do not represent, but constitute in themselves another world. And they do so with special means of representation, developed over the centuries. In them, colour plays a significant role, that of a symbolic language that must express not the colour of things, but their luminosity, a light that comes from beyond the physical world. The golden spaces of the icons embody this unearthly light, and the golden background symbolises the space that is "not of this world". In the icons there are no shadows, because in the kingdom of God everything is full of light. There is no usual space in them either, just as there are no conventional events. The icon is an open window to a world of another nature, but this window opens only for those who have a spiritual vision. One of the advocates of the veneration of icons was John Damascene (675 - c.750), who taught that the Old Testament prohibition against making images of God had a temporary character: "In ancient times, no one made images of God. But now, after God has manifested himself in the flesh and lived among men, we make images of the visible God. I do not make the image of the invisible Divinity: I make the image of the body of God that I have seen...". The visible does not convey the essence of the inconceivable God. But just as the body has its shadow, so every original has its copy: "the icon is memory". And just as Sacred Scripture is a verbal representation, an image of sacred history, so too the icons are a representation of it, but not verbal, but made with the touches of the brush and with colours.
Dutch school, late 18th century, early 19th century."Landscape.Oil on canvas.Re-drawn in the 19th century. Frame from the 19th century.Presents old restorations and lack of polychromy.Signed "W. KOEKKOEK, 61".Measurements: 84 x 112 cm, 113 x 144 cm (frame).It was undoubtedly in the paintings of the Dutch school that the consequences of the political emancipation of the region and the economic prosperity of the liberal bourgeoisie were most openly manifested. The combination of the discovery of nature, objective observation, the study of the concrete, the appreciation of the everyday, the taste for the real and the material, the sensitivity to the apparently insignificant, meant that the Dutch artist was at one with the reality of everyday life, without seeking any ideal that was alien to that same reality. The painter did not seek to transcend the present and the materiality of objective nature or to escape from tangible reality, but to envelop himself in it, to become intoxicated by it through the triumph of realism, a realism of pure illusory fiction, achieved thanks to a perfect, masterly technique and a conceptual subtlety in the lyrical treatment of light.He was a member of the famous Koekkoek family of painters; son of the marine artist, Hermanus Koekkoek, and grandson of Johannes Hermanus Koekkoek. His brothers, Hermanus, Johannes Hermanus Barend and Hendrik Barend became painters.Following the family tradition, his father gave all four brothers their first art lessons. Willem was also trained as an architect, but only practised that profession for a short time. However, he left a lasting influence on his choice of subject matter.From 1854 to 1878, he worked in The Hague and then in Amsterdam. His first exhibition was in 1859 in Leeuwarden. [1] From 1865 to 1894, he held annual exhibitions at the Royal Academy of Art and the Rijksakademie in Amsterdam. He had several exhibitions in private galleries in London from 1885 to 1888. His brother, Hermanus, moved to London and opened an art dealership in 1869, which made his works and those of the whole family popular in England.In November 1866 he married Johanna Hermina. They had two sons who became artists, Marinus Adrianus, known as "The Younger", who became an illustrator, and Hermanus Willwm, who specialised in military subjects. Again, following tradition, Willem provided his first lessons.Sometime in the 1880s, he moved to Amstelveen. By then, his brother, Hendrik Barend, had moved to London and his son, Hermanus, eventually did too. Although Willem painted almost entirely for his English clientele, he remained in the Netherlands. He stopped exhibiting, and painted little, from 1894 onwards owing to ill health, and died the following year, shortly after his fifty-sixth birthday.
School of JOSÉ DE RIBERA (Xátiva, Valencia, 1591 - Naples, 1652); 18th century."Saint Andrew".Oil on canvas.Measurements: 40 x 31 cm.A work that follows the aesthetic models established by the painter José de Ribera in 1652 in his work Saint Andrew which currently belongs to the collection of the Prado Museum in Madrid. In this piece, which has the same subject matter and composition, the artist shows us a Saint Andrew of mature age, reflected in his grey hair and the folds of his skin, which betray the passage of time. The intimate effect of the scene is created by the neatness and sobriety of the elements that compose it. The figure is not portrayed full-length, the background is lost in a dark blackness that hides the space, only the outline of a section of the cross and the presence of the fish head are masterfully shown in the scene, necessary for the identification of the protagonist as Saint Andrew, who was a fisherman. The baroque and dramatic light reinforces this idea of intimacy by shining on the figure in a dramatic way, leaving dark shadows that model the austere figure. Andrew was the first apostle called by Jesus, which is why he was called Protokletos, "the first called" by the Greeks. Brother of Simon Peter and, like him, a fisherman from Galilee, his name is Greek, not Hebrew, and means virile. He is mentioned twice in the Gospels: in connection with the vocations of the first two apostles, and in the episode of the multiplication of the loaves and fishes. His legend comes from the Apocrypha, and according to it he was appointed, after the death of Jesus, to evangelise Scythia, i.e. present-day Russia.José de Ribera, a key painter belonging to the generation of the great masters of the Golden Age, trained in Italy as a self-taught artist. He first came into contact with naturalism when he arrived in Rome in 1615, where he came into contact with the Nordic Caravaggists, from whom he adopted the smooth, hurried technique, ugliness and rigorous drawing, characteristics that shaped his style during his Roman period. However, in 1616 he moved to Naples and settled there permanently. In Naples Ribera became the leader of the group of Neapolitan naturalists and an important circle of painters grew up around him. Despite his stay in Italy, Ribera sent numerous works to Spain, and his language would be key to the formation of the Baroque in our country. His work would bring tenebrism and, later, the full Baroque, long before the latter arrived directly in Spain, thus influencing the new generations of painters. On the other hand, once his Roman period was over, his painting was characterised by a very loose, Venetian-influenced brushstroke, which also marked the work of his followers. Thus, Ribera's school developed a style of dramatic, contrasting, clearly tenebrist lighting, which is nevertheless tinged by a Venetian brushstroke that is impastoed and fluid. Thus, here we see an artificial, directed spotlight that penetrates the scene from the upper right corner and directly illuminates the saint's face and hands, leaving the rest in semi-darkness. And we also find that totally modern brushstroke that models the saint by means of the light, that touch of pasty, expressive brushstroke that the artist learned directly from Ribera's work.
1947 Omega automatic wristwatch with sub second dial at 6 o'clock. Very nice clean movement with no signs of water damage. Movement clearly stamped and numbered. Bracelet and case age related ware as expected, the glass is all round good condition, visible scratches when looking through a loupe. Ticking when given a light shake, we believe this requires a service
A 19th century oak pier cabinet, the lower section enclosed by a quarter panelled door and frieze drawer flanked by carved fruit, lions mask and ring handles, with open centre, the upper section with leaded light panelled door within further matching carved borders, 92 cm wide x 225 cm in height
A 19th century oak pier cabinet, the lower section enclosed by a panelled door with lion mask and other details, together with a further frieze drawer flanked by lion mask, ring and other character detail, with open centre, the upper section enclosed by a leaded light door within a further carved border 225 in height
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534297 Los(e)/Seite